Portrait of Melissa at Cafe Bizon, Brussels

from the collection of Matt Brydenthal



The white canvas offends me. The very nerve of it. The arrogance of this canvas believing that it can be Pure.... or Virgin... or Innocent... I will not stand for it and I will smear PIGments all over it. I will desecrate it until I am satisfied that it will learn from it's humiliation..... that it was never pure or innocent or virginal but it is beautiful in its flaws and more so than any self proclaimed Saint... When the canvas comes to this realization, it will inform me. Then I will do an interpretive happy dance and I will proclaim "Let it be written" and I will put a price on it and I will beg for forgiveness should it be sold .


John Park Whipple was born into famous artist family in the early color TV era in a town called Elgin Illinois. His father created sculptures in the garage with spare and not so spare television parts and empty cans of Old Style beer while his mother was a performance artist specializing on personal pieces involving a wooden spoon and an audience otherwise deemed “too old for spanking”. He started producing art at the age of two using whatever marking utensil within reach of his somewhat handicapped size. His early works were sadly under-appreciated. They were usually destroyed by his parents or older siblings who did not understand their value to humanity. His mother responded to his early work by brandishing the Wooden Spoon but she never used it. John produced his first and only masterpiece, “Under the Coffee Table”, when he was four. The sketch, done in striking blue Bic ball point, featured Batman battling the Nazis. Batman won as the Nazis were clearly X'ed out.

The coffee table was either given to charity ( ...where it was most likely sold at a thrift store to some young stoners far too lazy to look underneath it to ever discover glorious hidden masterpiece) or it was simply dumped ( was the custom in those early color TV days). John, known as “JP” in those days, became dejected and resolved to drawing pornographic images to entertain fellow classmates.

His older brother became a famous artist person and gave the young JP books by Sartre, Camus, and other authors with phonetically incomprehensible names. Because of this and the coffee table fiasco he decided to not become an artist. Instead, he decided to become a film maker.... to be become an actor... to become a photographer.... to become a writer... to become a psychologist.... to become a rockstar. After spending some time trying to be a rockstar he decided it would be easier to become an “not-rockstar”. Since then, he has been very “not-rockstar” working a day job and spending most his time not-having his way with starry eyed groupies and not-being subject to an endless parade of free drug tributes made in his honor.

Through it all, JP was never able to totally kick his art habit. He started painting again in his early 20's.At times this dreadful addiction would lead to extremely quixotic adventures usually resulting in homelessness and even plasma donations. All of which was an attempt to give his life “more color”. His early paintings were aimless. The subjects ranged from everything from Ding-Dongs to ennui. Eventually he settled in on depictions of the ageless struggle between ninjas and ponies. Two legendary beasts locked in eternal struggle for so long no one remembers why anymore. Centuries have passed and still no ninja would be caught dead riding into town on a pony. What gives?



For inquiries and commissions, please email

miasMia's Lounge - Flagstaff Arizona


The Rapture (acrylic on canvas 10"x14")

from the collection of Rik Murray



Elisha in the Colorado - 2012



Cheeseburgers 2008 - from the collection of Rik Murray